Small but mighty. The variety of negative borders is quite astounding. 110 pre-exposed frames, 16mm sprockets with film gate borders, the minox notch. Really helps give the image some flavor without having to think about adding it after the fact.
Inspired by JB's new macro lens, I did a quick d850 digitization of a Sonic 25 negative. Reversed 24mm af-d on bellows, so the capture is actually a crop of the original 12x17 neg... no fancy borders unfortunately.
View attachment 279018
The grain on this particular stock is practically non-existent; I'm not sure if the 100% crop shows grain or sensor noise
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A bit of color, to boot. Very different colors than the scanner.
View attachment 279020
View attachment 279019
Edit: A full frame capture with a more typical 80mm el-nikkor / bellows set up. ECN-2 really seems to confound the d850.. what happened to the red channel?
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I just received a new 50mm macro lens for my Nikon Z7 so I thought I would see how it works for digitizing a Minox frame.
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This was shot on Acros film and developed in Xtol developer. I needed to use some extension tubes in addition to the macro lens. ---jb.
I need extension tubes to get closer, but cannot do that as the camera will not then AF, but worse, I will not be able to set the aperture.
The major problem is getting a rock steady mounting at that magnification, otherwise the image dances all over the place.
Yes, I got the new 50mm Z mount macro. I am using 2 auto extension tubes, so the f-stop and auto focus still work. The new lens is a keeper - good size and quite sharp edge to edge. --jb.Nice!
That's the problem I am having w my Z7 + 60G macro lens. I need extension tubes to get closer, but cannot do that as the camera will not then AF, but worse, I will not be able to set the aperture.
Did you get the new AF Z 50mm macro lens?
Modern lenses are amazing but yikes! Six hundred and fifty USD for a 50mm macro! My two macros, an OM mount Sigma 50mm f2.8 (infinity to 1:1) and Vivitar 55mm f2.8 (inf. to 1:1) were $60 total, admittedly about 15-20 years ago, used but LN condition.Yes, I got the new 50mm Z mount macro. I am using 2 auto extension tubes, so the f-stop and auto focus still work. The new lens is a keeper - good size and quite sharp edge to edge. --jb.View attachment 279063
Yes, I know about cheaper setups. I've used enlarging lenses and older macro lenses with adapters which require stop down metering. At this point I want convenience, speed and excellent results. The new Nikon lens provides viewing wide open and automatically stops down during exposure which speeds up the scanning process considerably. Digitizing a roll of 36 exp film is very fast with this lens. It's also a really sharp general purpose 50mm lens. --jb.Modern lenses are amazing but yikes! Six hundred and fifty USD for a 50mm macro! My two macros, an OM mount Sigma 50mm f2.8 (infinity to 1:1) and Vivitar 55mm f2.8 (inf. to 1:1) were $60 total, admittedly about 15-20 years ago, used but LN condition.
Can also make up a macro out of a selection of M39 mount enlarging lenses with a M39 to M42 adapter. I get it to the range needed with extension tubes, and add a focusing extension tube to fine tune the focus. With a setup like that can achieve up to 3:1 if necessary.
Yes, I got the new 50mm Z mount macro. I am using 2 auto extension tubes, so the f-stop and auto focus still work. The new lens is a keeper - good size and quite sharp edge to edge. --jb.View attachment 279063
From the picture of the tubes it looks like the brand is Fotodiox Pro. I think they have their own website.
MG-s 1/500s shutter priority, 25cm focus
Vision3 500T @ 400, Daylight; ECN-2, copper sulfate bleach
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Edit: Same as above, but reversal processed, minus orange mask
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My choice was simple: I don't think my printer (Monoprice Delta Mini) is particularly good at anything besides PLA, so PLA it is. If need be, I will paint the exterior of those cassettes for better light-proofness. And that will be important, because I feel like fussing with 800-speed color negatives.
The 500T negs came out much closer to daylight balance than expected. I've noticed certain films (2254 comes to mind) tend to balance warmer as they're overexposed... but the quarter-stop here doesn't seem like it would be significant. The negatives were bleached back to AgCl and ran another 1:30 in the developer so perhaps that had a warming effect. Fun to mess around with regardless.
Regular processing, rendering under tungsten is spot on.
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16 mm is proving to be one of my craftsier photo projects: I found a Mamiya 16 Super II at an attractive price because it was sold "For parts / as-is". Fortunately, despite it's diminutive size, it wasn't too hard to service. Mamiya applied grease with a generous hand, but after 60 years, it was in dire need of a freshening up. Shutter speed escapement was bone-dry, focusing helicoid was frozen, and link to the focus control was bent, but the remedies were straightforward.
I 3D-printed a film slitter, and am currently in the process of printing film cassettes. I needed to slightly modify the latter as the designer had assumed single-spindle only, but the Super has a spindle on the supply side of the cassette too: It simply twirls a visual indicator which lets you know that film is advancing properly. The feature was removed from newer Mamiya-16 cameras for good reason: It makes loading the cassette into the camera a lot trickier! It took me awhile but I think I figured out a simple technique which lets me drop the cassette into place without undue frustration or film-wastage: Start with the supply spindle first, lining up the mating parts hand if necessary, and once that drops into place deal with the take-up spindle, which is lots easier. But it's no wonder that Mamiya went through a number of iterations of their film cassettes!
View attachment 279618
16 mm is proving to be one of my craftsier photo projects: I found a Mamiya 16 Super II at an attractive price because it was sold "For parts / as-is". Fortunately, despite it's diminutive size, it wasn't too hard to service. Mamiya applied grease with a generous hand, but after 60 years, it was in dire need of a freshening up. Shutter speed escapement was bone-dry, focusing helicoid was frozen, and link to the focus control was bent, but the remedies were straightforward.
I 3D-printed a film slitter, and am currently in the process of printing film cassettes. I needed to slightly modify the latter as the designer had assumed single-spindle only, but the Super has a spindle on the supply side of the cassette too: It simply twirls a visual indicator which lets you know that film is advancing properly. The feature was removed from newer Mamiya-16 cameras for good reason: It makes loading the cassette into the camera a lot trickier! It took me awhile but I think I figured out a simple technique which lets me drop the cassette into place without undue frustration or film-wastage: Start with the supply spindle first, lining up the mating parts hand if necessary, and once that drops into place deal with the take-up spindle, which is lots easier. But it's no wonder that Mamiya went through a number of iterations of their film cassettes!
View attachment 279618
16 mm is proving to be one of my craftsier photo projects: I found a Mamiya 16 Super II at an attractive price because it was sold "For parts / as-is"
View attachment 279618
I'll probably pick up a 16ii at some point just for the bulb mode and maybe get some sort of 3D printed bracket to facilitate a cable release.
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